SPCO musicians' fans are vocal in their support

Perhaps because they are fans, most patrons seem to sympathize with musicians during labor disputes.

On social media and other sites, patrons are vocal in their support -- at least the ones who are willing to talk. None of the supporters of management we called and emailed returned requests for comment, including one suggested by the St. Paul Chamber Orchestra.

Emily Hogstad's comments about the dispute are traveling the globe. A violinist in the Eau Claire Chamber Orchestra who travels to the Twin Cities for concerts a half-dozen times a year, Hogstad dubbed the disputes "Orchestral Apocalypse 2012" on her blog at songofthelark.wordpress.com, which has been quoted in the New Yorker.

"This has the capability to become a story in orchestral history that we look back on and say, 'This was a turning point,' " said Hogstad, 23.

"It has the potential to become a music education crisis, because the relationship the musicians have with the community is a huge part of what makes this region such a hub for the arts. It would be a huge loss if we lost even just a handful of the musicians."

Hogstad argues that the orchestras have been disrespectful in their treatment of the musicians during negotiations: "Releasing the proposed contract -- with the salaries and the proposed cuts -- suggests management was more interested in manipulating public opinion than in negotiating. That really turned me off.

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The salaries of the musicians come up a lot in conversations with patrons.

"I'm a Minnesotan, and we don't talk about wages like this. It's dirty ball, and it does not work," said Scandia's Joni Callahan, a registered nurse who has attended SPCO events since 1979.

"These people are schlepping their crap to many different venues, practicing at rehearsal spaces from Eden Prairie to Stillwater to St. Paul in the same week. No one says Elton John shouldn't make as much money as he does. We aren't worried about how much the Vikings make. The people in SPCO make relative pennies, compared to them."

Josh Kroll, an SPCO subscriber for more than 10 years, pays just pennies for his seats and would pay more.

"I pay $10 for my tickets, and I'm happy about it. I think the SPCO is the best deal in town," said Kroll, 41, of Minneapolis, who attends about 30 performances a year. "When they cut prices a few years back to attract younger subscribers, my ticket prices went down from $11 to $10."

Kroll wondered if the SPCO could raise money by raising ticket prices.

"If they bumped up tickets $5 apiece, I bet they'd still be lower than Minnesota Orchestra or the Schubert Club," he said. "I'm cheap, so I know what the rates are, and it's still going to be a better deal."

To borrow a theme from a piece often played by Minnesota Orchestra, "Candide," what would be the solution in the best of all possible worlds?

"I want both orchestras to strike a balance between artistic achievement and fiscal responsibility, and I really hope we can keep these musicians in town," Hogstad said.

Kay Bendel, who is active in the Friends of the SPCO and knows each of the musicians, agreed.